Smooth jazz is a term used to describe commercially oriented crossover jazz music. Although often described as a "genre", it is a debatable and highly controversial subject in jazz music circles. As a radio format, however, it is clear that smooth jazz became the successor to easy listening music on radio station programming in the mid-1970s to the early 1990s.
Smooth jazz may be thought of as commercially-oriented, crossover jazz which came to prominence in the 1980s, displacing the more venturesome jazz fusion from which it emerged. It avoids the improvisational "risk-taking" of jazz fusion, emphasizing melodic form, and much of the music was initially "a combination of jazz with easy-listening pop music and lightweight R&B."[1][2]
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The mid- to late-1970s included songs "Breezin'" as performed by another smooth jazz pioneer, guitarist George Benson in 1976, the instrumental composition "Feels So Good" by flugelhorn player Chuck Mangione, in 1978, "What You Won't Do for Love" by Bobby Caldwell along with his debut album was released the same year, jazz fusion group Spyro Gyra's instrumental "Morning Dance", released in 1979[3] and in 1981, a collaboration between Grover Washington Jr. and Bill Withers was released as one of the most popular smooth jazz songs "Just the Two of Us". Beginning with Taking Off by alto saxophonist David Sanborn, Warner Bros. Records became a viable and popular record label for smooth jazz.[citation needed]
The smooth jazz genre experienced a backlash exemplified by critical complaints about the "bland" sound of top-selling saxophonist Kenny G, whose popularity peaked with his 1992 album Breathless.[3]
Music reviewer George Graham argues that the "so-called 'smooth jazz' sound of people like Kenny G has none of the fire and creativity[7] that marked the best of the fusion scene during its heyday in the 1970s".[8]
For a variety of reasons, this might not be all that surprising. Smooth jazz radio stations around the country have been disappearing, and KWJZ was one of the few remaining. 98.9 was running on a skeleton staff, ratings were down, and many believed that a programming change might be right around the corner.
With all due respect to KWJZ and the blog author, those two lines, to be polite, are misleading to say the least. Without letting my pride as a KPLU jazz host get in the way too much, I will remind everyone that KPLU broadcasts 100 hours of jazz every week, has been doing so for 25 years (versus the 19 that KWJZ was broadcasting smooth jazz), and can be heard clearly on a variety of signals as far north as Canada. And that is not to suggest that KPLU is the only station in the region that offers jazz.
Generally speaking, there seems to be two primary sides in the responses. One side suggests that they will miss this programming and the station that they loved, and that Seattle is now void of a station that can offer this specific type of music and programming. Programming that many suggest as their source for jazz.
But then, a few weeks before Christmas, I was walking through the Tacoma Mall and saw a big advertisement banner for KWJZ. On it there were photos suggesting their primary artists: Norah Jones, Michael Buble, and John Legend.
First, jazz is very much alive and well in Seattle. In addition to KPLU and other stations that continue to successfully program jazz, top jazz artists continue to make Seattle a destination point while on tour at a variety of Seattle jazz clubs and other venues.
Whereas I do not listen to what smooth jazz radio that remains, what would be considered smooth jazz played a role from transitioning my musical tastes from rock and pop into the purer form of jazz in the late 1980s and early 1990s. It all comes down to tastes, I guess. Categories are meaningless as it is the music that matters. But to speak to people, whatelse is there? If one can grow the jazz genre through exposure to smooth jazz, like me; one should encourage such.
Smooth jazz, jazz.. whatever. One of my friends made a comment about 98.9 jazz being elevator music.. That annoyed me, but I guess that just means I like elevator music. I was sad to learn that 98.9 jazz is no more and did not know what other Seattle stations out there that play the same type of music. But thanks for letting me know of KPLU. I will definitely give it a try!
I live in Vancouver, BC. I listen to both KPLU & 98.9. I am not such a purest that I do not consider smooth jazz as real jazz, after all the same was said in the past about forms like bee bop which are now considered mainstream. The sad thing about this is the trend towards sameness on FM stations, as they all go after the same demographic audience. This is even more in evidence on Canadian stations. Vancouver lost both its traditional jazz station CJAZ to this and its (sort of) smooth jazz station, Clear FM. Recently even the CBC, the public broadcaster, flipped Radio 2 from Classical to a mixture of stuff. The big winner in all of this may be satellite radio which I find myself listening to more & more. I do thank god that KPLU is not commercially driven.
Well there goes the hood, i really like listing to smooth jazz, now i have nothing, KPLU is ok but i dont hear them playing much of what i use to hear at smooth jazz. Money moves us all. So off to KPLU i go. Or u know what ipod 5000 songs an more movies. HEy no Radio YEAHHHHHHHHHHHHHHH
. . . definitely disappointing to see the end of KWJZ . . . now 98.9 sounds like everything else . . . and I had to listen through scratchy airwaves here in Langley & Surrey outside Vancouver BC and it was still my favourite radio station . . . Jimmy Pattison (owner of 100.5 the PEAK FM) are you listening? . . . . start something new and come blow your horn ! . . . smooth jazz rocks . . . where will I hear Chris Botti now?
Urban voices was the last thing I wanted to hear as a male instrumental jazz listener. I wanted clean, modern, cool, pretty easy to follow the mainline instrumental pieces. Mostly solo instruments or strong leads with light backing.
Have your own target market and station identity but I think maybe both stations could usefully take or could have usefully taken some more of what the other did or tried to appeal to the other side or a broader base.
I hope you like my smooth jazz mix. I am new to djing so my transition into each track is not as smooth as the jazz!I intend to do many more of these mixes, as I need the practice, and I hope I continue to soothe your ears! Sapphire
Hi Pat. I was wondering what are your thoughts on "smooth jazz?" Lately radio stations have been changing to this format. While some may enjoy it, I feel a lot of the music is "watered down" and as someone else here described it, "anticlimatic." Many artists who don't fit the "smooth jazz" mold are no longer receiving airplay (Michael Franks for example). Even I don't hear as many tunes from your creations anymore, just maybe one or two and those are usually edited for time. I was wondering what do you think about this trend? Do you think it has hurt you at all (with lack of airplay etc)?
the whole thing of "smooth jazz" literally makes me sick. everytime i hear someone using that idiotic, inaccurate and meaningless term after serving up a set of music by a bunch of nameless, faceless and totally anonymous sounding instrumentalists followed by the latest mariah carey or michael bolton cut, it sort of makes me want to vomit.
the fact that i occasionally hear some of our stuff thrown into the mix (usually sans any pesky improvisation - just the melody, please) - i, more and more, find myself embarrassed and ashamed. there was a time, early on, before the name "smooth jazz" came to be synonomous with "crap" that there were actually people like some of the early cd-101 folks who really loved music - followed it, were allowed to play what they liked and even included full length versions of a lot of our (for example) more challenging stuff in their playlist. those days have been long gone for quite a while now.
as far as it's effect on us, not getting played anymore on their stations? no doubt about it - we end up with less people at our gigs, in many cases, significantly less. but, on the other hand, when we have been roundly embraced by stations like that on occasion, it has resulted in a large chunk of the audience that shows up at the gig sitting there staring at us like the audience at the premiere of "springtime for hitler" in the movie "the producers" - going to the bathroom every 5 minutes in the middle of ballads, yelling stuff at us, and finally usually splitting sometime before the gig was over in order to "beat the rush" etc. in other words, i would just as soon stay home or play in europe or japan as play for an audience that is larger, filled with people who think we have something to do with artists who cater to those kinds of stations and listeners, and who wind up not really getting anything out of our stuff anyway.
on the other hand. there are probably literally hundreds of thousands of people who heard us for the first time on those kinds of stations. we do owe a debt to the stations that supported our thing for real for a long time, and i will always honor that debt to the particular people who really have helped to let out thing continue. but, it is a moot point these days anyway - i don't know many people who can actually listen to those stations who dig our stuff - it seems that withing the range of people that we attract, those stations are pretty much as meaningless to them as we are to those stations.
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